Opera's Dynamic Duo
The following review appeared in the Arts and Culture section of The Greek American, November 18, 2000.
By Vicki J. Yiannias
Lampas and his wife, soprano Barbara Iona Miller, sang leading roles in Genesis Opera's opening night of "A Celebration of Puccini: Il Tabarro and Suor Angelica," in New York, November 10.
In "Il Tabarro," Lampas plays the lover of the married Giorgetta, played by Miller. A tall, attractive couple,
Lampas and Miller make the lovers' interest in each other plausible. Lampas' strong personality creates an imposing stage presence that pairs effectively with Barbara
Iona Miller's beautiful stage persona. Miller excels in the dramatic moments of the opera. Among the other excellent performances in both "Il Tabarro" and the "Suor Angelica,"
Lenna Darbin successfully brings humor and lightness to the role of Frugola in "Il Tabarro."
Born in Greece, Lampas won scholarships from the Metropolitan Opera and the
Juilliard School and to the master classes of Maria Callas. Singing with Callas, he says was "one of the most wonderful experiences of my life," the moments he spent singing "A te o Cara" with her are an unforgettable treasure.
Barbara Iona Miller is a graduate of the Juilliard School and has performed the major Puccini and Verdi heroines. The temperament and dramatic skills of
Lampas and Miller have suited them to singing Verdi and Puccini internationally to the acclaim of critics.
Marko is artistic director of the Genesis Opera, and Barbara is co-artistic
director. Genesis Opera is a branch of Genesis Repertory.
Select Reviews, Barbara Iona Miller
“Barbara Iona Miller’s
Liù had more of the vocal
heft Turandot needs, though she handled the role’s crucial
pianissimos beautifully.” Bill Zakariasen, N.Y. Daily
I DUE FOSCARI
“Ms. Miller’s voice negotiated the
treacherous turns with clarity and temperament.” N.Y. Daily
“Miss Miller’s voice shone brightly on the top, which was
produced with full sound . . . musically her preparation
deserves commendation.” Gannet/Westchester
“Miss Miller is an exceptionally attractive
Violetta physically as well as in her acting. She sang with
great control but with tenderness and passion. Her “Sempre
libera” in Act I was especially dazzling. “Addio del
passato” in Act IV was sung with beautiful delicacy and
loveliness. Madison Eagle, N.J.
Soprano Barbara Iona Miller gave a finely crafted performance
portraying a Violetta of both porcelain delicacy and
considerable strength and power as the role demanded. And she has the
acting ability to back up her vocal powers.” Denville
“In the polished Boheme led by the
affecting Mimi of Barbara Iona Miller, the music took wing and
soared easily.” Opera News
“Barbara Iona Miller was a bombshell of a Musetta, and
sang a waltz song that lit up the stage. She overpowered the second
act with her deliciously wicked vamp of a Musetta.”
Daily Record, N.J.
“Sensitive interpretation and fine vocal
technique, soprano Barbara Iona Miller is a name worth remembering. As
Nedda she performed with enthusiasm and bravura.”
Corriere della Sera, Milano, Italy
Lake George Opera Festival
THE BALLAD OF BABY DOE
“In the title role, Barbara Iona
Miller was warm and ingratiating singing with power and luster. Her
Baby Doe is most human and delightful.”
“The final scene became the capstone of the whole work,
illuminated by the silvery singing of Barbara Iona Miller, a figure of
infinite pathos. She is capable of moments of rare beauty.”
THE MARRIAGE OF FIGARO
“Barbara Iona Miller sang her
first Susanna with fetching grace. Her last act aria was
“Barbara Iona Miller was exceptionally fine
as Mary Warren, a fresh soprano voice and a fine
TROUBLE IN TAHITI
“In Bernstein’s bitter satirical
opera Trouble in Tahiti, Barbara Iona Miller, a good actress
with a fine singing voice, handled her lead role expertly.”
KISS ME KATE
“Barbara Iona Miller is suitably shrewish as
both Kate and Lilly Vanessi in this Kiss Me
Kate, but beautiful as either. She manages the tender parts of her
role better than any actress this season. Her “I Hate Men”
is wonderful and wonderfully punctuated.” Greenville Daily
“If I had my own opera house I would definitely have you sing in
it.” Maestro Walter Taussig, Metropolitan Opera
“Barbara Iona Miller was a sensual, riveting,
Hecate.” Off Off Broadway Review
Selected Reviews, Marko Lampas
“Handsome tenor Marko Lampas sang with ardency
and proved his voice had the requisite mettle for the hero Calaf. High
notes . . . he showed he had them all, high C’s included.” Bill
Zakariasen, N.Y. Daily News
“Marko Lampas cut a fine figure on stage, and
by the end of Act III with the aria “Ah si ben mio” and “Di quella
pira,” he had the audience in the palm of his
hand.” Star Ledger, N.J.
“An excellent production . . . Marko Lampas’s
Radames gave the audience a chance to hear the best operatic voice to
appear in the area.” Denville Citizen, N.J.
I DUE FOSCARI
“Lampas’s somewhat dusky-hued tenor
proved well schooled and able to sing long-breathed, arched phrases
with minimum effort and maximum personality. He’s a most
interesting performer of pleasingly individual style.” Bill
Zakariasen, N.Y. Daily News
“Marko Lampas as Rodolfo quickly won the
audience with the aria “Che gelida manina.” He has a strong
stage presence and a rich voice of considerable emotional range.”
Star Ledger, N.J.
“Marko Lampas sang the role of Des Grieux
with fine lyrical tones and phrasing marked by drama and
passion.” Palm Beach Daily News
“Tenor Marko Lampas had the voice and the looks
for the licentious Duke of Mantua.” N.Y. Times
“Marko Lampas as Turiddu not only has
a beautiful voice but also has great charisma. He should be singing
all over the world.” Nicola Martinucci, leading tenor, La
Scala, Metropolitan Opera, Vienna Staats Opera
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